Violinist Philippe Quint has always impressed me as an artist with great savoir faire. Philippe told me that his teacher, Dorothy DeLay, had encouraged all young artists who were starting out in their careers to write thank you notes following their performances. He concurs with that approach, since even the smallest probability of getting re-engaged as a result of such a gesture can be extremely valuable.

"Tertulia is a regular chamber music series in New York City that transforms restaurants into concert venues for an evening. Paired with a prix fixe menu and drinks, guests listen attentively to world-class chamber music performed in a relaxed, informal and welcoming setting."

"I’m hesitant to say that just because I played all the Mahler symphonies I’m a better executive director than someone else," says Mark Niehaus, who was the Milwaukee Symphony Orchestra’s principal trumpet for 15 years before becoming president and executive director in 2012. How he got there is a story of trust—by the board, by the musicians, and by the community.

In 1989, Richard Russell was a tenor in the chorus of Rigoletto at Sarasota Opera in Florida. In 2016, he was onstage again in the chorus, part of a grand finale concert, only this time his primary role was as executive director, the top administrative job in the company that he has now held for five years.

It is no secret that a large number of today's most successful arts administrators in music at one point studied an instrument, voice, conducting, or composition but moved on in a different direction. Not one of the many individuals I know made this choice out of feelings of inadequacy or, even worse, failure. I have chosen to spotlight two such individuals whose current occupations hearken back to defining moments in their younger lives.

Since many young musicians are not in a position to pay a publicist even for an individual project, I am dedicating this column to DIY publicity. The information herein has been gained from speaking to valued colleagues, a number of whom regularly dedicate considerable time to counseling young musicians on this topic, whether during visits to music schools and conservatories or as part of their business activities.

It has been over 50 years since the first university arts administration programs debuted, an effort to groom new leaders in the field by formalizing what had until then been up-the-ladder and/or on-the-job training. Today the Association of Arts Administration Educators (AAAE), a service organization founded in 1979, counts 150 member programs, some 130 of which are based in the U.S. (a European sister organization lists 140 members). A majority are at masters-level, though there is no blueprint for content or curriculum. “No two programs look alike,” said AAAE Executive Director Katy Coy in an interview.

In a past column, I addressed the challenge that pianists confront in identifying new venues in which to perform or run through repertoire in advance of major recitals. I have always been sympathetic to the limitations they face in not being able to bring their instrument with them. I began to investigate the opportunities for piano stores and dealers to be a resource – both in terms of providing performance spaces and advising regarding specific locations with suitable pianos. I was helped greatly in my research by Bonnie Barrett, Director, Yamaha Artist Services in New York, who led me to some very dedicated individuals whom I otherwise might never have met.

For the aspiring professional musician, what is success? Becoming principal tuba in the New York Philharmonic? Being a famous opera singer? Juilliard professor Ben Sosland gives us a few pointers from his course, "Musician as Entrepreneur."

Find the right concert venue for you and your art form can be a challenge. There are no easy solutions; one approach is to set out on foot in your target area and thinking creatively: a library? Bank lobby? Restaurant? Another is to choose the area and do a Google search for “arts venues in ____.” You’d be surprised at what turns up!

In a rare interview, Musical America asks Catherine French of the Catherine French Group the tough questions. The recruiting firm has a client list of nearly 300, ranging from Carnegie Hall to the Aspen Music Festival and the University of Chicago. French is the former CEO of what is now the League of American Orchestras and has important insight for someone starting out in the performing arts industry.

Recognizing the great significance of this moment in their students' lives, music schools and conservatories arrange for distinguished artists and exemplary role models to address the graduates as they embark on this next step of their professional careers. Here are excerpts from notable addresses by Joyce DiDonato, Nicholas McGegan, Audra McDonald, and John Adams.

We asked Becky Klein, partner at Phillips Oppenheim, to delve into the details and process of an executive search and for her other insights. She opened our eyes about key issues such as the use of social media, finding good development staff, and generational divides.

Edna Landau is a founding director of IMG Artists, the former director of Career Development at the Colburn School in Los Angeles, CA, and a special career consultant at The Juilliard School in New York.

Whatever your instrument, if there’s a competition for it somewhere in the world, it’s listed in our data base and our Guide. We’ve also included some of our latest articles and advice about competing.